Music theory question

Look up more on modes and you should be able to make sense of it

>>68710784
it comes down to whether or not the pitch is diatonic (of its scale [and related scaled when in minor]). if you're going to go with a chromatic pitch, make sure you know why and what exactly that implies

>>68710916
>modes
This. There is a specific mode associated with each chord number in any key signature. In this case, your modes are as follows:

I - Ebmaj7 - Eb Ionian
ii - Fmin7 - F Dorian
iii - Gmin7 - G Locrian
IV - Abmaj7 - Ab Lydian
V - Bb7 - Bb Mixolydian
vi - Cmin7 - C Aeolian
vii - Dm7b5 - D Locrian

By default, tensions for each chord come from the relevant mode.

Do you know the interval types - major, minor, perfect, augmented, diminished? Because the chord name usually specifies the exact interval of the tension above the root note. The plain '9' extension is a major 9th above the root, (octave + whole tone, e.g. F above Eb); b9 is a minor 9th interval (octave + semitone, e.g. Ab above G).

The plain 11th tension is quite rare. It seldom appears on major chords because it clashes with the 3rd. It sounds better on minor chords.
#11 is more common, especially on chord IV or V, or in modal compositions.

>>68710784
>I have figured out the 9th is an F
Correct.
>why it can't be an F#
That would be an augmented 9th.
>Is the 9th chord always in the scale?
No, especially not if it's dominant.
>I think the 11th is an A
No, a perfect 11th above Eb is Ab. A natural would be #11. (A# is enharmonic with Bb, which is the 5th.)
>D-7b5
The 9th would be Eb because the Locrian mode has a b2. The 11th is G. (G# would be #11).

>>68711893
/thread

>>68711893
You can have the 9th in a dominant, though. I'm pretty sure (root)7b9 is a pretty common flavor of dominant too

>>68713173
What he meant was the that the chordal ninth is not always diatonic, especially in the case of dominant chords (where you're just as likely to see #9s and b9s as nat9s).

Thanks for helping guys! I'll look into modes later on..

>>68711893
So is it correct to assume the 9th is one whole step above the root? And b9 would be one half step and #9 would be 3 half steps?

For the 11th this will be 3 whole steps up from the root, b11 would be 5 half steps and #11 is 7 half steps?

Also, I heard the #11 is used a lot in jazz, hoz do I know when to play this?

>>68714271
Okay I missed this:
>>68711754
So I should play #11 most of the time except maybe for minor chords?

>>68714271
>So is it correct to assume the 9th is one whole step above the root?
Yup.

> And b9 would be one half step and #9 would be 3 half steps?
Yup.

>For the 11th this will be 3 whole steps up from the root
Nope. An 11th is the same as a 4th, just up the octave, so it's 5 semitones from the root.

>b11 would be 5 half steps and #11 is 7 half steps?
4 and 6, respectively.

>Also, I heard the #11 is used a lot in jazz, hoz do I know when to play this?
Whenever you're extending a Maj7 chord. Min7 chords tend to use the natural 11th, and it's variable with dominants.

>>68714449
Perfect! Thanks for your help

>>68714709
No problem, anon. Good luck building those chops!